Putti 1710 - 1772

Petrus Johannes van Reysschoot sketched these "Putti" with ink, presenting us with a vision of cherubic figures that dance through artistic history. These winged infants, symbols of divine love and innocence, were prevalent in Renaissance and Baroque art. Consider the Cupid of ancient Roman art, often depicted with a bow and arrow, stirring desires. Our putti evolved from such classical figures, yet they lost their explicit erotic charge. We see them in religious contexts, adorning scenes of the Madonna or hovering in celestial realms. The image of the putto reminds me of the eternal cycle of birth, death, and rebirth, resonating deeply within our collective psyche. Even today, echoes of these figures appear in popular culture, stripped of their religious connotations but still embodying a sense of carefree joy. They resurface in modern advertising, a testament to their enduring appeal. These figures transcend mere religious symbols; they are an expression of the human longing for a return to innocence.